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@PHDTHESIS{Abdullah1989,
  author = {Abdullah, M. K.},
  title = {Modeling of Swirling Fluidized Bed Hydrodynamic Characteristics},
  school = {Universiti Tun Hussein Onn Malaysia},
  year = {1989},
  owner = {bapak},
  timestamp = {2010.11.12}
}

@ARTICLE{Bongers1998,
  author = {A. J. Bongers},
  title = {Tactual display of sound properties in electronic musical instruments},
  journal = {Displays},
  year = {1998},
  volume = {18},
  pages = {129 - 133},
  number = {3},
  __markedentry = {[user]},
  abstract = {In order to enhance the control of electronic sound sources (synthesisers),
	multiple modes of interaction can be introduced. In this paper, several
	technologies for tactual display of properties of the sound and new
	methods of control will be described. For example, input devices
	such as gloves, gesture trackers and other technologies adapted from
	virtual reality research were applied to increase the number of sound
	parameters that the player can control simultaneously. Some initial
	work has been carried out with simple actuators for tactual feedback.},
  doi = {10.1016/S0141-9382(98)00013-4},
  issn = {0141-9382},
  keywords = {Tactile feedback, Force feedback, Electronic musical instruments,
	Tangible sound },
  owner = {user},
  timestamp = {2010.07.21},
  url = {http://www.sciencedirect.com/science/article/B6V01-3TKV2VS-9/2/df3efd06f0d85e73dd718c8a36c74223}
}

@BOOK{Creme2003,
  title = {Writing at University},
  publisher = {Open University Press},
  year = {2003},
  author = {Creme, P. and Lea, M. R.},
  address = {Maiden},
  edition = {2},
  owner = {bapak},
  timestamp = {2010.11.12}
}

@ARTICLE{Jackendoff2006,
  author = {Ray Jackendoff and Fred Lerdahl},
  title = {The capacity for music: What is it, and what's special about it?},
  journal = {Cognition},
  year = {2006},
  volume = {100},
  pages = {33 - 72},
  number = {1},
  note = {The Nature of Music},
  abstract = {We explore the capacity for music in terms of five questions: (1)
	What cognitive structures are invoked by music? (2) What are the
	principles that create these structures? (3) How do listeners acquire
	these principles? (4) What pre-existing resources make such acquisition
	possible? (5) Which aspects of these resources are specific to music,
	and which are more general? We examine these issues by looking at
	the major components of musical organization: rhythm (an interaction
	of grouping and meter), tonal organization (the structure of melody
	and harmony), and affect (the interaction of music with emotion).
	Each domain reveals a combination of cognitively general phenomena,
	such as gestalt grouping principles, harmonic roughness, and stream
	segregation, with phenomena that appear special to music and language,
	such as metrical organization. These are subtly interwoven with a
	residue of components that are devoted specifically to music, such
	as the structure of tonal systems and the contours of melodic tension
	and relaxation that depend on tonality. In the domain of affect,
	these components are especially tangled, involving the interaction
	of such varied factors as general-purpose aesthetic framing, communication
	of affect by tone of voice, and the musically specific way that tonal
	pitch contours evoke patterns of posture and gesture.},
  doi = {10.1016/j.cognition.2005.11.005},
  issn = {0010-0277},
  keywords = {Rhythm, Meter, Tonality, Melody, Harmony, Affect, Emotion },
  owner = {user},
  timestamp = {2010.07.21},
  url = {http://www.sciencedirect.com/science/article/B6T24-4HWXP3C-1/2/4c66c001a23866ef8d568bfc07b28b80}
}

@ARTICLE{Morvidone2010,
  author = {Marcela Morvidone and Bob L. Sturm and Laurent Daudet},
  title = {Incorporating scale information with cepstral features: Experiments
	on musical instrument recognition},
  journal = {Pattern Recognition Letters},
  year = {2010},
  volume = {In Press, Corrected Proof},
  pages = { - },
  __markedentry = {[user]},
  abstract = {We present two sets of novel features that combine multiscale representations
	of signals with the compact timbral description of Mel-frequency
	cepstral coefficients (MFCCs). We define one set of features, OverCs,
	from overcomplete transforms at multiple scales. We define the second
	set of features, SparCs, from a signal model found by sparse approximation.
	We compare the descriptiveness of our features against that of MFCCs
	by performing two simple tasks: pairwise musical instrument discrimination,
	and musical instrument classification. Our tests show that both OverCs
	and SparCs improve the characterization of the global timbre and
	local stationarity of an audio signal than do mean MFCCs with respect
	to these tasks.},
  doi = {10.1016/j.patrec.2009.12.035},
  issn = {0167-8655},
  keywords = {Audio signal classification, Sparse decompositions, Time-frequency/time-scale
	features, Musical instrument recognition },
  owner = {user},
  timestamp = {2010.07.21},
  url = {http://www.sciencedirect.com/science/article/B6V15-4Y34V23-8/2/1cfb7395849f1ea70174b184b9470dc8}
}

@ARTICLE{Poirson2007,
  author = {Emilie Poirson and Philippe Depincae and Jean-Francois Petiot},
  title = {User-centered design by genetic algorithms: Application to brass
	musical instrument optimization},
  journal = {Engineering Applications of Artificial Intelligence},
  year = {2007},
  volume = {20},
  pages = {511 - 518},
  number = {4},
  __markedentry = {[user]},
  abstract = {This work presents an implementation of genetic algorithms (GAs) for
	a user-centered design of products. It describes at first a methodology
	for a user-centered design, based on the coupling between a subjective
	study to define desirable features and on objective study to find
	out the influencing objective variables. It relies on two domains
	that remain generally distinct: the design with a scientific approach
	(generally math-based) and the design with a sensory and perceptual
	approach (subjective). The methodology is presented on a particular
	product for which the perceived aspects are essential: a musical
	instrument (trumpet). Two types of study were carried out on a set
	of trumpets: firstly, a sensory study, which aim is to characterize
	the perception of the intonation of the instruments by musicians;
	secondly, an objective study, which consists in an objective description
	of the instruments by physical measurements (impedance). We correlated
	the intonation assessments data and the physical measurements, in
	order to deduct useful objective functions for the design of a new
	instrument, and to formulate the user-centered design problem as
	a multi-objective optimization problem. The paper presents next how
	GAs were implemented to solve the multi-objective optimization problem.},
  doi = {10.1016/j.engappai.2006.09.002},
  issn = {0952-1976},
  keywords = {Product design, User-centered design, Multi-objective optimization,
	Genetic algorithm, Sensory analysis, Musical acoustics },
  owner = {user},
  timestamp = {2010.07.21},
  url = {http://www.sciencedirect.com/science/article/B6V2M-4M51F9Y-1/2/be9fa9295dd20c5d7a40845e10e0095f}
}

@ARTICLE{Rodriguez2009,
  author = {R. Rodriguez and E. Arteaga and D. Rangel and R. Salazar and S. Vargas
	and M. Estevez},
  title = {Mechanical, chemical and acoustic properties of new hybrid ceramic-polymer
	varnishes for musical instruments},
  journal = {Journal of Non-Crystalline Solids},
  year = {2009},
  volume = {355},
  pages = {132 - 140},
  number = {2},
  __markedentry = {[user]},
  abstract = {Novel ceramic-polymer hybrid varnishes were designed to protect the
	wood surface of musical instruments. These hybrid coatings consist
	of chemically functionalized silica nanoparticles and synthetic solvent-based
	acrylic- and alkyd-polyurethanes. The nanoparticles were added to
	increase the abrasion resistance. An alkoxide was used to increase
	the number and reactivity of OH's groups on the wood surface improving
	the adhesion with the coating through a chemical link between them.
	The properties of the synthetic coatings were compared with those
	of a traditional varnish (based on alcohol and natural resins) to
	obtain a better performance. Two types of woods were used: maple
	and spruce. The samples were characterized by UV-Vis, mechanical
	and abrasion tests, water's absorption, acoustic properties, chemical
	resistance and SEM.},
  doi = {10.1016/j.jnoncrysol.2008.10.001},
  issn = {0022-3093},
  keywords = {Acoustic properties and phonons, Chemical properties, Chemical durability,
	Films and coatings, Measurement techniques, SEM S100, Nanoparticles,
	colloids and quantum structures, Nano-composites, Nanoparticles,
	Optical properties, Absorption, FTIR measurements, Oxide glasses,
	Silica, Titanates, Polymers and organics },
  owner = {user},
  timestamp = {2010.07.21},
  url = {http://www.sciencedirect.com/science/article/B6TXM-4TYWGRN-2/2/357528f8a5e7d070127e0534d34d8659}
}

@ARTICLE{Schell2002,
  author = {Daniel Schell},
  title = {Optimality in musical melodies and harmonic progressions: The travelling
	musician},
  journal = {European Journal of Operational Research},
  year = {2002},
  volume = {140},
  pages = {354 - 372},
  number = {2},
  __markedentry = {[user]},
  doi = {10.1016/S0377-2217(02)00074-7},
  issn = {0377-2217},
  keywords = {Combinatorial optimisation, OR applications in other domain, Musical
	composition },
  owner = {user},
  timestamp = {2010.07.21},
  url = {http://www.sciencedirect.com/science/article/B6VCT-450HFJ1-1/2/e6f2a3ce5e1917fd390c846719d82561}
}

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